A penniless swordsman (David Chiang) with nothing but his beloved horse as companion joins a security company in escorting a gold shipment straight into a trap set by notorious robbers, the Flying Tiger Stockade. Two men torn by their love for the same woman will form bonds of brotherhood in their fight against a common enemy.
It’s not difficult to figure out where the inspiration for Have Sword, Will Travel came from. With a title modified from a hit TV series in America entitled Have Gun, Will Travel (1957-63) and a hero as chivalrous and capable as any gun-slinger, this groundbreaking film from writer/director Chang Cheh successfully transplanted the American Western onto Chinese soil and established the greatest screen duo in kung fu movie history.
The pairing I refer to is Chang Cheh’s favorite martial arts stars Ti Lung and David Chiang. They would generally go on to play martial brothers in subsequent films, but in Have Sword, Will Travel they begin as rivals in swordsmanship and love.
The film begins with a spectacular montage of dream-like imagery during the credits that features wonderfully distinct music from Wang Fu-ling. This acts as foreshadowing of events to come and establishes the film’s inevitable violence to be more art than simple brutality.
Ti Lung plays Siang, a swordsman in love with his martial sister Yun Piau-piau (Li Ching). Together, they represent their master as they respond to a summons from a colleague. Lord In (Cheng Miu), head of an escort service has been charged with transporting an important shipment of gold, but he has lost his kung fu abilities and recruits the pair in assisting him. Their task is made all the more difficult by the Flying Tiger Stockade, a fearless band of thieves intent on stealing the gold. Into this situation rides a mysterious swordsman named Yi Lo (David Chiang). Without money or vocation he is immediately distrusted, especially by Siang who is threatened by his incredible martial abilities and his affect on a smitten Piau-piau. Despite their differences and shared love for the same woman, fate will make them brothers in arms as Yi Lo joins the security company in escorting the gold into a trap set by the Flying Tigers. As the caravan is decimated by the bandits with ‘Pestilence’ (Chan Sing) the spear master and ‘Ghost Shadow’ (Wong Chung in his screen debut) the mute in the lead, Siang and Yi Lo fight their way to the top of a tower to confront Jiao Hong (Guk Fung), leader of the Flying Tigers.
Chang Cheh’s brilliant combination of Western motifs and stylized bloodletting makes this early film one of his most significant and enjoyable efforts, particularly if the viewer maintains an open mind. For Western references, Chang presents David Chiang as the classic anti-hero, a wandering fighter of peerless skill who lends his weapon-handling skills to any fight for justice despite being branded an outcast. For this role Chiang is perfect and easily ascends to the plateau shared by another kung fu icon, Jimmy Wang Yu. Not particularly skillful in kung fu, Chiang makes up for it in charisma and heroic posturing rivaled by his excellent performance in Vengeance! Chiang’s main companion in the film is his horse – another Western nod. Horses are usually not made a part of the story in Hong Kong films, but here Chiang’s prized steed becomes a central component in his budding relationship with Li Ching.
The martial arts of Have Sword, Will Travel is classic Chang Cheh through and through, but more stylized than later works. The action leading up to the finale is actually all just a tease with characters sparring briefly, only to withdraw before blood is spilled. Chang holds back for the big buildup and then unleashes a torrent of slow motion leaps and eruptions of blood. Trampolines are used liberally, causing David Ching to appear able to repeatedly bounce over the ground with ease. In one scene, stunt actor and co-choreographer Yuen Cheung-yan is skewered in the gut, resulting in a flood of bright red liquid to burst out in a slow motion stream. Later, characters are impaled and shot full of arrows as blood pours forth, yet they carry on to the last breath or sword stroke. It’s outrageous and over-the-top, but stops just short of being absurd. Why? Because this is Chang Cheh’s world and these are his rules and within this gory play land such extravagance makes up the tools by which his stories are told. Rarely is one of Chang’s stories told with more flair than here. For weapons fans, action director Tong Gaai prominently throws in swords, darts, spears, bow and arrows, a crescent-shaped thrown weapon, a staff with hidden weapons inside, and a sword that folds open to form a double-ended sword. In addition to props and effective camera tricks, Chang uses simple, rhythmic music and the ambient sounds of birds in the distance to offset the violence. This lends these scenes a surreal and haunting element that resonates with the viewer long after they end.
Having a little perspective does help to understand that Chang has taken elements from Chinese and Western filmmaking, blended them together with his own deference towards the art of martial arts and created magical scenes of exaggerated violence that are being recreated in action films over thirty years later. This same perspective also brings attention to faults in Have Sword, Will Travel. Most notably, the film suffers from Hong Kong’s lingering transition from staged costume martial arts films where the action and acting are stiff and the sets and scenes are artificial. The biggest trouble is that the characters keep conveniently bumping into each other whether in a bustling city or out in the wilderness. The story and characters seem closeted in by invisible boundaries. The setup and execution for the final confrontation is forced. But then most of these gripes could apply to many of Shaw Brothers’ films. The key to enjoying them is being willing to accept this artifice within the context of the era the films were made.
It is more than possible to enjoy Have Sword, Will Travel on its own merits, rather than just as a defining moment in Chang Cheh’s filmography. All of the lead performances are terrific with the lovely Li Ching and the dastardly Guk Fung adding their charisma. But of course, its the stern Ti Lung and especially the coy David Chiang who make the most of their screen time. With a unique Western theme, stylized action, and lots of exciting weapons use this is great swordplay classic and a must-see for any Chang Cheh fan.
by Mark PollardRelated Topics:
Chang Cheh • Have Sword Will Travel (1969) • Shaw Brothers • swordplay • Wuxia
